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They are commonly held outdoors, with tents or roofed temporary stages for the performers. Often music festivals host other attractions such as food and merchandise vending, dance, crafts, performance art, and social or cultural activities. At music festivals associated with charitable causes, there may be information about social or political issues. Many festivals are annual, or repeat at some other interval. Some, including many rock festivals, are held only once.

Some festivals are organized as for-profit concerts and others are benefits for a specific charitable cause. Another type of music festival is the educative type, organized annually in local communities, regionally, or nationally, for the benefit of amateur musicians of all ages and grades of achievement.

History

Ancient and medieval

Leigo Järvemuusika 2007

The Pythian Games at Delphi included musical performances, and may be one of the earliest festivals known.[1] During the Middle Ages, festivals were often held as competitions.

Modern

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Another type of music festival is the music education type, often organized annually in local communities, regionally, or nationally, for the benefit of amateur musicians of all ages and grades of achievement. Entrants perform prepared pieces or songs in front of an audience which includes competitors, family and friends, and members of the community, along with one or more adjudicators or judges. These adjudicators, who may be music teachers, professors, or professional performers, provide verbal and written feedback to each performer or group. The adjudicator may be someone whom they might never meet in any other way, as is the case when an adjudicator from
another city is brought in to judge. They also usually receive a certificate, classified according to merit or ranking, and some may win trophies or even scholarships. The competitive element is often played down, however, as the important aspect is that participants can learn from one another. Such festivals aim to provide a friendly and supportive platform for musicians to share in the excitement of making music. For many, they provide a bridge from lessons and examinations to performing confidently in public; for a few of the top performers, they provide a pathway to further professional study of music in a college, university or conservatory.

Festivals around the world

Milwaukee, Wisconsin's 11-day event, Summerfest, promotes itself as "The World's Largest Music Festival", a title certified by the Guinness World Records and has been held since 1999. Operating annually since 1968, the festival attracts between 800,000 and 1,000,000 people each year, and hosts over 800 musical acts.[2][3] The Woodstock Festival in 1969 drew nearly 500,000 attendees, and the Polish spin-off Przystanek Woodstock in 2014 drew 750,000[4] thus becoming the largest open air annual festival in Europe and the second largest in the world. In comparison, the Roskilde Festival in Denmark, attracts about 135,000 spectators each year.[5]Glastonbury Festival has a capacity of about 275,000 spectators, but has "fallow years" roughly every five years, so it is the biggest non-annual greenfield festival in the world. The oldest annual dedicated pop music festival in the world is Pinkpop Festival in the Netherlands,[6] though in other genres, there are much older ones: the Three Choirs Festival in the UK has run annually[] since 1719.
The Queensland Music Festival, established in 1999 and headquartered in Brisbane Australia, is the largest music festival by land mass, as a state-wide music biennial music festival, over a three week period during July.

From muddy fields to rock legends, Woodstock to Glastonbury, folk to dance, this book celebrates the greatest music festivals of all time. Explore the headliners and highlights from Bob Dylan to Jimi Hendrix and Oasis and beyond.

Discover Monsters of Rock, Tomorrowland, Coachella, and South by South West as you hunt for the legends that performed there in this fast-paced, fun adventure through the history of music festivals.

The perfect gift for music fans and anyone fascianated by Woodstock, Barefoot in Babylon is an in-depth look at the making of 1969âs Woodstock Music Festivalâone ofÂ Rolling StoneâsÂ â50 Moments That Changed the History of Rock and Roll.â

âMr. Spitz feeds us every riveting detail of the chaos that underscored the festival. It makes for some out-a-sight reading, man.ââThe New York Times Book ReviewÂ Almost fifty years ago, the Woodstock Music Festival defined a generation. Yet, there was much more than peace and love driving that long weekend the summer of 1969. In Barefoot in Babylon, journalist and New York Times bestselling author Bob Spitz gives readers a behind-the-scenes look at the making of Woodstock, from its inception and the incredible musicians that performed to its scandals and the darker side of the peace movement. With a new introduction, as well as maps, set lists, and a breakdown of all the personalities involved, Barefoot in Babylon is a must-read for anyone who was thereâor wishes they were.

Book 3 begins the introduction of literature for the early intermediate student. The repertoire included in this level will provide your students the necessary structure and experience that will allow them to hone their abilities and fine-tune their technique and interpretation. These pieces will carefully lead them towards the intermediate and late intermediate level repertoire. Features pieces by composers such as: Georg Philipp Telemann (Fantasie); Franz Joseph Haydn (Sonata in F major, Third Movement: Scherzo); and Dmitri Kabalevsky (Five Variations on a Russian Folk Song, Opus 51, No. 1).

The first-ever book exclusively devoted to the history of the Newport Folk Festival, I Got a Song documents the trajectory of an American musical institution that began more than a half-century ago and continues to influence our understanding of folk music today. Rick Massimoâs research is complemented by extensive interviews with the people who were there and who made it all happen: the festival's producers, some of its biggest stars, and people who huddled in the fields to witness momentsâlike Bob Dylanâs famous electric performance in 1965âthat live on in musical history. As folk has evolved over the decades, absorbing influences from rock, traditional music and the singer-songwriters of the â60s and â70s, the Newport Folk Festival has once again become a gathering point for young performers and fans. I Got a Song tells the stories, small and large, of several generations of American folk music enthusiasts.

Antonin DvorÃ¡k made his famous trip to the United States one hundred years ago, but despite an enormous amount of attention from scholars and critics since that time, he remains an elusive figure. Comprising both interpretive essays and a selection of fascinating documents that bear on DvorÃ¡k's career and music, this volume addresses fundamental questions about the composer while presenting an argument for a radical reappraisal.

The essays, which make up the first part of the book, begin with Leon Botstein's inquiry into the reception of DvorÃ¡k's work in German-speaking Europe, in England, and in America. Commenting on the relationship between DvorÃ¡k and Brahms, David Beveridge offers the first detailed portrait of perhaps the most interesting artistic friendship of the era. Joseph Horowitz explores the context in which the "New World" Symphony was premiered a century ago, offering an absorbing account of New York musical life at that time. In discussing DvorÃ¡k as a composer of operas, Jan Smaczny provides an unexpected slant on the widely held view of him as a "nationalist" composer. Michael Beckerman further investigates this view of DvorÃ¡k by raising the question of the role nationalism played in music of the nineteenth century.

The second part of this volume presents DvorÃ¡k's correspondence and reminiscences as well as unpublished reviews and criticism from the Czech press. It includes a series of documents from the composer's American years, a translation of the review of Rusalka's premiere with the photographs that accompanied the article, and JanÃ¡cek's analyses of the symphonic poems. Many of these documents are published in English for the first time.

Covering 600 music festivals worldwide, this guide offers lively descriptions of festivals of all manner, size, and form. A resource for the committed festival attendee, it offers dates, locations, scheduled events, web sites, and lists of recent performers. Accommodation information is also featured alongside price guidelines and camping details. Also a vital handbook for the performer, it provides contact information for booking agents, deadlines for submissions, and, in some cases, practical tips about how to get on the bill. Covering nearly every conceivable genre of musicâfrom alternative rock, world music, avant-garde jazz, and R&B to bluegrass, reggae, medieval, and contemporary classicalâthis companion is comprehensive, engagingly written, and amazingly informative. The Music Festival Guide is an essential resource for anyone interested in attending or performing at music festivals.

Book 1 provides teachers and students with superior elementary repertoire available by the master composers. These pieces furnish students with the necessary repertoire to develop solid technique, and to cultivate a sense of musicality that is necessary in playing the works of the masters. Features pieces by composers such as: Michael Praetorius (Old German Dance), Anton Diabelli (Song), Fritz Spindler (Spring Waltz), and Alexandre Tansman (Arabia).

Songs from films and Broadway, children's tunes, ragtime, nostalgia, folk favorites, instrumentals, country classics, songs from World War I -- a musical parade of American history. Sample songs: And I Love Her * Gigi * I Love Paris * I'll Be Seeing You * I've Got a Crush on You * Mockin' Bird Hill * The Shadow of Your Smile * The Way We Were * You're the Cream in My Coffee. The lyric booklet ""Sing Along!"" is included.